August Newsletter and Meeting Notice

Our next meeting will be Monday, August 12th, at 7 PM at the Lowell Center, 610 Langdon Street, Madison. Check kiosk for room.

Parking: Lowell parking is for guests of the hotel and staff only. Nearest parking is the Lake Street Ramp, one block south (you can also enter from Frances Street). Street parking is free after 6 P.M. Try east on Langdon up around the curve or the foot of Gilman Street around the corner from Porta Bella our tavern of choice for apres-reading beer. Porta Bella is on Frances between State and University.

City of Madison Parking Website:  www.cityofmadison.com/transportation/parking.cfm

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Starting around 7:10 we will read:

“Clutch” ……………………. by Brendon Smith :10

“Barrista” ………………….. by Nick Schweitzer :05

“Dover” ……………………. by Nick Schweitzer :05

“Bekka/Rebecca” …………………  by Phil Heckman  :08

This is a light schedule, so bring in a scene or short/medium length play if you want to.

*******We can always use readers, especially women, if any of you actors want to attend. *******

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In July we read:

“WTF 1” ………………………….. by Alan Gold

“WTF 2” ………………………….. by Alan Gold

“Breaking the Chain” …………… by Deb Meyer

Scene ……………………………. by Bob Curry

Remembrance ……………………. by Nick Schweitzer

Readers were Amy Azen, Mickey Crocker, Deb Meyer Sam Gutierrez, Jack Guzman, Brendon Smith, Mark Lajiness, Bob Curry … sorry if I missed anyone.

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Online play submissions calendar. Check it out. Thank you, Brendon Smith.

http://www.submissioncalendar.com/

Another resource. Thanks, Betty Diamond:

Welcome to The Playwrights’ Center’s Writer’s Opportunities listings, the nation’s best collection of information for working dramatists. We do the research so our member playwrights can spend more time focused on writing. This extensive database of information contains information on contests, theaters, publication and submission opportunities. We add opportunities and search categories weekly to keep the information up-to-date and easy to search.

http://www.pwcenter.org/members-opportunities.php

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If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.

ARISTOTLE, Poetics

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ANNOUNCEMENTS

Congratulations and thanks to all who participated in producing Playwrights Ink 21st Anniversary Showcase.

Dana Pellabon, you are awesome. Thank you playwrights, actors, directors, tech crew, Mercury, Bartell, grant writer Phil Heckman, and those who turned out to see the show.

If you were involved in the production and feel like offering some post-mortem feedback on the process, the material, the performances, whatever please send Nick Schweitzer an email and copy Bob Curry.

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MEMBER NEWS

If you are in a show, directing a show, have written a show being produced somewhere, let me know and I’ll put it in the newsletter and you may post it on our Facebook page.

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Congratulations to Coleman on his second book launch in two years.  Way to be prolific!

Spoke launch party

Midwest Book Review calls it:

A “weighty, evocative memoir … skillfully plotted”

“Skillfully penned to be of equal interest to those who lived through and who were born after Vietnam.

And a compelling witness to a definitive era, richly compounded in complexity by true-life family sorrow and triumph.”

Read the complete review at:

www.spokesinthewheel.com

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Coleman’s novel  Kidnapping Henry Kissinger is available at Amazon.com

http://www.amazon.com/ Kidnapping-Henry-Kissinger- ebook/dp/B0078PWPDA/ref=sr_1_ 1?ie=UTF8&qid=1331048524&sr=8- 1

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OPPORTUNITIES

Submission Calendar:

http://www.submissioncalendar.com/

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Written and Edited by Lindsay Price

Marketing Your Play

https://www.theatrefolk.com/spotlights/marketing-your-play

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Articles and Reviews

How Breaking Bad broke free of the clockwork-universe problem

By Todd VanDerWerff August 7, 2013

The A.V. Club

Late in Breaking Bad’s upcoming season-five part-two première, Walter White makes a leap of logic that seems somewhat ridiculous for the man to make. He has very little evidence to support it. He has no particular reason to feel the way he does—outside of one thing he should never have noticed. But it feels right for him to have made this leap of logic, at least to the audience. This happens all the time onBreaking Bad: When examining the actual elements of the plot, the show makes huge leaps that don’t always seem backed up by logic or rational thought, but they’re always undergirded by a kind of emotional through-line that ties everything together. The show, which began as a relatively small-scale domestic crime drama, very gradually evolved into a grand pulp adventure, with super-magnets and murderous, silent twin brothers, and it hasn’t always been clear how the series was able to make any or all of this work. At times, it felt as if the mechanics of the plot should have swallowed the characters whole, but Breaking Bad has succumbed only rarely, and even then, only for a scene or two. How? (to continue reading)

http://www.avclub.com/articles/how-breaking-bad-broke-free-of-the-clockworkuniver,101278/?utm_source=Facebook&utm_medium=SocialMarketing&utm_campaign=LinkPreview%3ANA%3ADefault

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Some Playwrights Get ‘Real’

Off Broadway Borrows From Reality Television

By ERIC GRODE

Published: June 27, 2013

Over the years reality TV has included among its many subcategories a theater-centered “star is born” series. Several West End revivals have found their headliners this way, and before Laura Osnes was a two-time Tony Award nominee, she  was a winner (Preview)  on “Grease — You’re the One That I Want!” To continue reading:

http://theater.nytimes.com/2013/06/30/theater/off-broadway-borrows-from-reality-televsion.html

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Same Couples, Reshuffled by a Mellowing Playwright

‘Reasons to Be Happy,’ by Neil LaBute

By BEN BRANTLEY

Published: June 11, 2013

You don’t always know how much you’ve missed certain people until they show up in your life again. When Steph started bawling out Greg the other night, and rushing him as if he were a tackling dummy, I felt an oddly comforting warmth. “Oh, you two,” I said to myself, grinning. “You haven’t grown up at all.” To continue reading:

http://theater.nytimes.com/2013/06/12/theater/reviews/reasons-to-be-happy-by-neil-labute.html?pagewanted=all

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MOVIE REVIEW

Playwright Is Dead; Show Goes On

‘You Ain’t Seen Nothin’ Yet,’ by Alain Resnais

By A. O. SCOTT

Published: June 6, 2013

“You Ain’t Seen Nothin’ Yet,” the new film by Alain Resnais, begins with a series of phone calls in which real French actors are informed of the death of a fictional playwright. The dead man’s last wish, conveyed with grave formality by a man who seems to be his butler, is that the players — a pride of grandly aging Gallic lions — gather in his honor at his isolated country mansion. There they will watch, on a large, wall-mounted video monitor, a production of his well-known play “Eurydice” performed by a youthful theater company. To continue reading:

http://movies.nytimes.com/2013/06/07/movies/you-aint-seen-nothin-yet-by-alain-resnais.html

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Let’s Put on a Show … Someday

Wallace Shawn and André Gregory on Their Long Collaboration

By FRED KAPLAN

Published: July 3, 2013

Wallace Shawn and André Gregory may be the most renowned playwright-director duo in New York theater, so much so that two of the city’s most renowned theaters, the Public and Theater for a New Audience, are sponsoring a series to celebrate their 40-year collaboration. To continue reading:

http://theater.nytimes.com/2013/07/07/theater/wallace-shawn-and-andre-gregory-on-their-long-collaboration.html?ref=theater&_r=0

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Sometimes comes along a review that tells you something about how to write, or not:

THEATER REVIEW

‘I’m Melting!’ Is No Stretch

‘Somewhere Fun,’ by Jenny Schwartz, at Vineyard Theater

Published: June 4, 2013

Evelyn, who has materialized again, watches with cool detachment her friend’s supine, liquefying figure, idly offering her own memories of their relationship. “It’s all come flooding back,” she says. “Such fun we used to have in Central Park. Or maybe not. Feels like another lifetime. A universe away. So quickly, they pass, the years, like moving targets.” Raising a hand to mime gunfire, she half playfully, half mournfully adds: “Pow. Missed it.”  To read on:

http://theater.nytimes.com/2013/06/05/theater/reviews/somewhere-fun-by-jenny-schwartz-at-vineyard-theater.html?ref=arts&pagewanted=2

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CRITIC’S NOTEBOOK

In DNA Ruling, a Cruel Blow to Scriptwriters

By NEIL GENZLINGER

Published: June 4, 2013

Do Anthony M. Kennedy, Clarence Thomas, Stephen G. Breyer, Samuel A. Alito Jr. and John G. Roberts Jr. not own televisions? To read on:

http://www.nytimes.com/2013/06/05/arts/television/supreme-courts-dna-ruling-tests-the-scriptwriters-art.html

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Tony Awards: In Performance

By ERIK PIEPENBURG

http://artsbeat.blogs.nytimes.com/2013/06/05/tony-awards-in-performance-with-rob-mcclure/?ref=arts

http://artsbeat.blogs.nytimes.com/2013/06/04/tony-awards-in-performance-with-billy-porter-and-stark-sands/

http://artsbeat.blogs.nytimes.com/2013/06/03/tony-awards-in-performance-with-courtney-b-vance/

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THEATER REVIEW

One Playwright’s Ode to Another, His Muse

‘The Notebook of Trigorin’ by Tennessee Williams at the Flea

By Charles Isherwood

NY Times: May 8th, 2013

“What writers influenced me as a young man?” Tennessee Williams said in an interview in The Paris Review. “Chekhov! As a dramatist? Chekhov! As a story writer? Chekhov!”  (To continue reading…)

http://theater.nytimes.com/2013/05/09/theater/reviews/the-notebook-of-trigorin-by-tennessee-williams-at-the-flea.html?ref=arts&_r=0

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Her Personal Playwright

By ALEXIS SOLOSKI

NY Times: May 8, 2013

The first collaboration between Kristine Nielsen and Christopher Durang failed, dismally. In 1989 they appeared together in a famously reviled production of Alfred Jarry’s “Ubu Roi,” which the critic Mel Gussow described as “almost relentlessly unfunny” in The New York Times. Ms. Nielsen played the queen. Mr. Durang, in a rare outing as an actor, played Ubu’s conscience. To continue reading:

http://theater.nytimes.com/2013/05/12/theater/theaterspecial/kristine-nielsen-delights-in-durang.html?ref=theater

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Herbert Blau, Iconoclastic Theater Director, Dies at 87

By Douglas Martin

NY Times: May 7, 2013

Herbert Blau, a fiercely iconoclastic theater director, scholar and theorist who staged some of the earliest productions of Beckett, Brecht and Genet in the United States, died in Seattle on Friday, his 87th birthday. To continue reading:

http://theater.nytimes.com/2013/05/08/theater/herbert-blau-iconoclastic-theater-director-dies-at-87.html

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Kierkegaard’s ‘Antigone’

By Ulrika Carlsson

NY Times: May 5, 2013

The Danish philosopher’s revisionist take on an ancient Greek tragedy grappled with the way acts of love, guilt and redemption are intertwined.

To continue reading:

http://opinionator.blogs.nytimes.com/?s=Antigone

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Once Upon a ‘Woods,’ Stripped Down

By Neil Genzlinger

Published: May 7, 2013

PRINCETON, N.J. — Little Red Riding Hood turns into Rapunzel. A feather duster turns into a living creature. A prince turns into a stepsister who turns into a cow.

At the McCarter Theater here, Fiasco Theater is putting its spin on “Into the Woods.”

Fiasco, a young New York company whose core members came out of the theater program at Brown University, made quite a splash with its six-actor version of Shakespeare’s “Cymbeline.” That show used double casting, a pinch of music and a bare minimum of props to deliver one of Shakespeare’s lesser-known works in rollicking fashion. From its beginnings in a TriBeCa black box in 2009, “Cymbeline” went on to two other New York runs, as well as a touring life. To continue reading:

http://theater.nytimes.com/2013/05/08/theater/fiascos-into-the-woods-at-mccarter-theater.html

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Some Dessert, After That Meal With Wally

‘André Gregory: Before and After Dinner,’ by Cindy Kleine

“It’s the art of being, not the act of performing,” the experimental-theater director André Gregory muses in “André Gregory: Before and After Dinner,” (Preview)  an indelible, gripping documentary portrait by his wife, Cindy Kleine. “Even emotion can be a mask.” To continue reading:

http://movies.nytimes.com/2013/04/03/movies/andre-gregory-before-and-after-dinner-by-cindy-kleine.html

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Ben Brantley Answers Readers’ Questions

Interview with NYTimes Theater Critic

December 5, 2012

http://artsbeat.blogs.nytimes.com/2012/12/05/ben-brantley-answers-readers-questions/

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How to Find Opening Lines That Electrify

Published: October 25, 2012

CALL me Ishmael. It was the best of times, it was the worst of times. Throw in Tolstoy’s uniquely unhappy families, Orwell’s 13-striking clocks and Nabokov’s loin-firing Lolita, and literature is packed with gangbuster first lines. To read on:

http://theater.nytimes.com/2012/10/28/theater/how-to-craft-an-opening-line-to-electrify-a-theater-audience.html?smid=fb-share

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THEATER; Neil Simon’s Pinball Rules for Playwriting

By NEIL SIMON;

Published: March 22, 1992

WINSTON-SALEM, N.C.—  “How long did it take you to write the play?” the young college student queried. I was stumped. I didn’t know. I had no recollection.

Does it start from the moment you put pen to paper? (I don’t type. I write in long, narrow-ruled notebooks that I seem to find only in England, and even there they appear to be fast disappearing. I like to see as much as I can in one glance at a sheet of paper to get a sense of the rhythm and tempo of the words.)

http://www.nytimes.com/1992/03/22/theater/theater-neil-simon-s-pinball-rules-for-playwriting.html

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The National New Play Network   is an alliance of leading nonprofit theaters that champion the development,  production and continued life of new plays. NNPN strives to pioneer, implement and disseminate ideas and programs that  revolutionize the way theaters collaborate to support new plays and playwrights.

http://www.nnpn.org/ about_mission.php

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E-Plays available for download from Sam French

http://www.samuelfrench.com/store/ebooks.php

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Resources :

Winning Writers  Website: More for fiction and poetry writers, but all kinds of good, well-paying contests.

Winning Writers

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The Dramatists Guild of America   was established over eighty years ago, and is the only professional association which advances the interests of playwrights, composers, lyricists and librettists writing for the living stage. The Guild has over 6,000 members nationwide, from beginning writers to the most prominent authors represented on Broadway, Off-Broadway and in regional theaters.

The Guild is governed by a Board of Directors elected from its membership, and which currently includes such writers as Stephen Sondheim ( West Side Story, Gypsy, Into the Woods ), Edward Albee ( Who’s Afraid of Virginia Woolf, A Delicate Balance ), Marsha Norman (‘ night, mother ), Tony Kushner ( Angels In America ), John Patrick Shanley ( Doubt ), John Guare ( Six Degrees of Separation ), Lynn Nottage ( Intimate Apparel ) and Rebecca Gilman ( Spinning Into Butter ). The current president of the Guild is Stephen Schwartz ( Wicked, Pippin, Godspell ). Past presidents have included Richard Rodgers, Oscar Hammerstein, Moss Hart, Alan Jay Lerner, Robert Sherwood, Robert Anderson, Frank Gilroy, and Peter Stone. Past Guild members have included Eugene O’Neill, George S. Kaufman, Arthur Miller, Lillian Hellman, Frank Loesser, Frederick Loewe, and Tennessee Williams.

The Dramatists Guild of America was established for the purpose of aiding dramatists in protecting both the artistic and economic integrity of their work. The Guild believes that a vibrant, vital and provocative theater is an essential element of the ongoing cultural debate which informs the citizens of a free society. The Guild believes that if such a theater is to survive, the unique, idiosyncratic voices of both men and women who write for it must be cultivated and protected.

To that end, the Guild maintains model contracts for all levels of productions, (including Broadway, regional and smaller theaters) and encourages its members to use these contracts when negotiating with producers. These contracts embody the Guild’s over­arching objectives of protecting the dramatist’s control over the content of his work, and ensuring that the dramatist is compensated for each use of his work in a way which will encourage him to continue writing for the living stage.

In addition to its contract services, the Guild acts as an aggressive public advocate for dramatists’ interests and assists dramatists in developing both their artistic and business skills through its publications, which are distributed nationally, and the educational programs which it sponsors around the country.

Through a variety of activities, the Dramatists Guild of America works to ensure that theater in America will

continue to flourish and that the voices which give it life will continue to reflect and celebrate the richness

and diversity of the American experience.

A note to Guild Members: A re-imagining of the Members-only portion of our site is currently in development and will be made live in stages, beginning with public Member profiles in early 2011. All Guild Members and Associate members will be notified via email the moment each new portion of the site becomes available. In the interim, any information you require can be obtained by phoning the Guild offfices at: (212) 398-9366.

http://www.dramatistsguild.com/

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dmoz, open directory project
http://www.dmoz.org/Arts/Writers_Resources/Playwriting/  

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Playwriting Opportunities
http://www.playwritingopportunities.com/Playwriting_Theatre_Resources.htm  

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Play Publishers:
Below is a short list of play publishers. Browse their online catalogs to see if your play will be a good fit before querying. I’ve noted the ones that have contests or other special instructions. Click the publisher’s name to go the submission guidelines page.

Baker’s Plays – e-queries OK, has a contest for high school students, markets to religious institutions, regional theatres, universities, high schools and children’s/family theatres.
Broadway Play Publishing, Inc. – e-queries OK, full-length plays only.
Brooklyn Publishers – e-queries OK, NO musicals, markets mainly to middle, junior high and high schools.
Dramatists Play Service, Inc. – NO e-queries or submissions, all plays/musicals must have a production history.
Pioneer Drama Service – e-queries OK, has a contest, markets to schools and “family-oriented theatres.”
Samuel French, Inc. – NO e-queries or submissions, has a contest, markets to amateur and regional theatres, prefers plays/musicals appropriate for family, junior and high school markets, though will consider plays with more adult themes if they have had successful productions.

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The History of Playwrights Ink can be accessed and read at the Madison Public Library (main branch) on 201 West Mifflin St. in the Local Material File (Pamphlet File ) on the first floor. The file lists Associations alpha betically.

You may also access Playwrights Ink History and read it at the University of Wisconsin Memorial Library, 728 State St. It is cataloged so people will know it’s available and can be found and used there in the Madison Archives.

Should you have any problem locating our files, speak to a librarian. No material may be removed from these libraries regarding the History of Playwrights Ink. Please return info exactly where you found it.

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Playwrights Ink Participation: Anyone is welcome to attend Playwrights Ink monthly meetings (second Monday, 7PM). If you want a play or scene read, you must pay the $10 annual dues and contact Bob Curry to get it in the schedule. If you have any issues or concerns about the group’s activities or governance, would like to post an item in the monthly newsletter, or want help finding actors to read your play at the monthly meeting, contact Nick Schweitzer.